ESA OOGIE
B
M
TM
Owner's Manual
The Spirit of Art in Technology
1317 Ross Street Petaluma, CA 94954
USA
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Hello from the Tone Farm...
..You, smart player and all around intuitive human, have put your
trust in us to be your amplifier company. This is something we do not
take lightly. Our reward is that we've designed and built another fine
guitar amplifier that is destined to become a classic. By purchasing and
choosing this unit to be a part of your musical voice, you have become
part of the Mesa family...WELCOME! Our goal is to never let you
down. Your reward is that you are now the owner of a great amp, bred
of fine all tube amp heritage...benefiting from the many pioneering and
patented Mesa circuits that led to the refinement of your new
instrument. Feel confident, as we do, this amp will inspire many hours
of musical satisfaction and lasting enjoyment. It was built with you in
mind, by players who know the value of a fine musical instrument and
the commitment it takes to make great music. The same commitment to
quality, value and support we make to you...our new friend.
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Your MESA/Boogie Amplifier is a professional instrument. Please treat it with respect and operate it properly.
USE COMMON SENSE AND ALWAYS OBSERVE THESE PRECAUTIONS:
Do not expose amplifier to moisture, rain or water, direct sunlight
or extremely high temperatures.
Always insure that amplifier is properly grounded.
Always unplug AC power cord before changing fuse or any tubes.
When replacing fuse, use only same type and rating.
Avoid direct contact with heated tubes.
Insure adequate air circulation behind amplifier.
Keep amplifier away from children.
Be sure to connect to an AC power supply that meets the power
supply specifications listed on the rear of the unit.
If there is any danger of lightning occurring nearby, remove the
power plug from the wall socket in advance.
To avoid damaging your speakers and other playback equipment,
turn off the power of all related equipment before
making the connections.
Do not use excessive force in handling control buttons, switches
and controls.
Remove the power plug from the AC mains socket if the unit is to
be stored for an extended period of time.
Do not use solvents such as benzene or paint thinner to clean the
unit. Wipe off the exterior with soft cloth.
YOUR AMPLIFIER IS LOUD! EXPOSURE TO HIGH SOUND VOLUMES MAY CAUSE
PERMANENT HEARING DAMAGE!
No user serviceable parts inside. Refer service to qualified personnel. Always unplug AC power before
removing chassis.
EXPORT MODELS: Always insure that unit is wired for proper voltage. Make certain grounding
conforms with local standards.
READ AND FOLLOW INSTRUCTIONS OF PROPER USAGE.
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TM
Table of Contents
Precautions
FRONT PANEL
Description and Usage
1
1
2
2
2
2
Overview
Power-Up
Connect Footswitch
Mode Select
Sample Mode Settings
CONTROLS
Gain
3
3
3
4
4
4
5
Master
Treble
Middle
Bass
Presence
Toggle Switches
REAR PANEL
Fuse
Record / Phones
Description and Usage
5
5
6
6
6
6
6
7
FX Loop: Send / Return
FX Mix
Silent Recording / Speaker Mute Switch
Speakers
Parts Sheet
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TM
Operating Instructions
Overview:
The SUBWAY ROCKET ushers in a new era of compact, portable and affordable combo amplification that boasts no
compromise, quality construction throughout. Don’t let small size and the sparse layout fool you...the ROCKET is an extremely
versatile single channel, Tri-Modal amplifier that provides a georgious clean sound, a soaring high gain lead and a giant, grinding
crunch - way too big for its humble size.
The Three Footswitchable Sounds (Modes) of world class personality housed in a Baltic Birch cab, along with our custom-designed
magic ten inch SUBWAY speaker, make the ROCKET a mighty ally in the studio, rehearsal hall or anywhere else that you
might be in need of Heavyweight Tone in a Bantam-watt arena. Its powerful footswitching capabilities and all the Gain a player
could need, make the ROCKET well suited for Rock, Pop, Country, Top 40 or any other style where versatility is the name of the
game. Players who lean heavier in the Roots or Blues direction may want to take a look at the ROCKETS' older brother, the
SUBWAY BLUES. This simplified SUBWAY focuses on power section clipibility with a Tone-packed, stripped pre-amp
perfectly matched to the same twenty-watt burner.
Looking to the ROCKETS' Rear Panel assures that your interfacing needs are covered. A parallel Effects Loop with a MIX
Control provides tone insurance for even those questionable effects. Three speaker jacks ( one 8 Ohm and two 4 Ohm ) are
provided to ensure the proper impedance match to the many types of speaker enclosures. A RECORD / PHONE OUTPUT JACK
is provided to capture the ROCKETS' soulful character direct to tape or into your own personal headset. The SILENT
RECORDING MUTE SWITCH LOCATED TO THE LEFT OF CENTER ON THE CHASSIS’ UNDER SIDE and just beneath the
Rear Panel, is a handy feature for those late night sessions when live speaker volumes are just too loud or not needed.
As you can see, the ROCKET provides all the features any demanding pro culd need and at the same time remains simple to
operate.
SUBWAY ROCKET
FRONT VIEW
ON
RHYTHM
ON
5
5
RHY
6
L
E
A
D
F
T
INPUT
FT.SWITCH
GAIN
MASTER
7
S
W
CONTOUR STANDBY POWER
LEAD
TREBLE
MIDDLE
BASS
PRESENCE
SUBWAY ROCKET
REAR VIEW
1
2
TM
A
POWER
DYNA -WATT
SUBWAY ROCKET
PREAMP PATENT
4,701,957
SPEAKERS
FUSE
0%
%
100
1A SB
FX MIX
RETURN
RECORD / PHONES
SEND
4 OHM
8 OHM
4 OHM
MUTE SPKR ON
SILENT RECORDING
HANDBUILT IN PETALUMA, CALIFORNIA.
PAGE 1
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FRONT PANEL
POWER-UP:
First familiarize yourself with the Front and Rear Panels of your new ROCKET. 1.) Connect your favorite
guitar to the instrument INPUT jack. Now turn the power switch "ON" while leaving the standby switch set to "STANDBY." It is
always a good idea to practice this start up procedure as at least 30 seconds of warm-up time lessens the shock on cold power
tubes, thus prolonging their toneful life substantially. 2.) Connect the ROCKETS' Mode Select Footswitch ( which is included ) to
the FOOTSWITCH jack that is located just below the instrument INPUT jack on the far left of the Front Panel. If the footswitch is
not available, you may use the Mode Select toggle located to the left of the STANDBY switch to audition the ROCKETS' three
distinctly different sounds (SEE NOTE.) 3.) Using the example below as a guide, set the controls as illustrated and turn the
STANDBY switch to the ON position to fire up your new ROCKET. Now its time to play ! Run through the three Modes and feel
free to experiment with the controls.
NOTE
The Mode Selector ( RHYTHM - LEAD - CONTOUR ) switch must be in the center ( MIDDLE ) position for the
Mode Select Footswitch to work. This will select the Lead Mode until you choose another Mode with the Footswitch.
RHYTHM ( up position )
RHYTHM
ON
ON
5
5
RHY
L
E
A
D
F
T
6
INPUT
FT.SWITCH
GAIN
MASTER
S
W
0
0
CONTOUR STANDBY POWER
LEAD
TREBLE
MIDDLE
MIDDLE
MIDDLE
BASS
PRESENCE
PRESENCE
PRESENCE
LEAD ( switch in the center position )
0
RHYTHM
ON
ON
0
RHY
L
E
A
D
F
T
6
INPUT
FT.SWITCH
GAIN
7
MASTER
4
S
W
CONTOUR STANDBY POWER
LEAD
TREBLE
BASS
CONTOUR ( down position )
RHYTHM
ON
ON
5
5
RHY
L
E
A
D
F
T
6
INPUT
FT.SWITCH
S
GAIN
7
MASTER
4
W
CONTOUR STANDBY POWER
LEAD
TREBLE
BASS
NOTE
It is normal for the volume of the CONTOUR Mode to be a little louder than that of the LEAD Mode, as the voicing of the
LEAD Mode is being drastically re-shaped and some frequencies are being boosted quite dramatically to achieve this sonically
powerful sound.
Again, these are merely examples of how to set up your new ROCKET for its maiden voyage. Experimentation will lead you to
many different sounds in each mode. Now that you have heard the three distinctively different Modes, let’s move on to
understanding the controls and their interactive roles in achieving the sounds that you want to hear.
PAGE 2
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CONTROLS:
GAIN:
This is by far the most powerful control in each of the three different Modes that are activated by the Mode switch. It
not only determines the overall gain amount, shape and sensitivity of the Mode selected...but it is also a
powerful Tone control. Generally speaking, whatever is dialed up here ultimately determines the Modes’
personality. Set low, it allows cleaner and brighter sounds with enhanced dynamic response,
especially in the higher frequencies. Set high, the whole personality of the Mode becomes darker,
fatter and more overdriven. We worked hard to make sure that the entire range of Gain available is
usable in the ROCKET and more importantly, musical. Don’t think for a moment that this simple layout
limits you in any way in regards to the amount and texture of Gain that is available. Long neurotic hours
were spent to ensure that the ranges of Gain were stylistically accurate. It’s probably a good time to
5
INPUT
FT.SWITCH
GAIN
mention that most of the great sounds can be found in the ROCKET by setting the GAIN Control moderately, especially in the
LEAD MODE. For example, somewhere between through . In the RHYTHM position, try setting this control somewhere
2
6
between
through
. Use of moderation here will reduce the likelihood of pesky tube microphonic problems ever occurring,
3
8
while at the same time making all three Modes easier to balance in volume and FX send strength.
MASTER:
The individual MASTER Controls serve three purposes in the layout of the ROCKET. FIRST: They serve as
level balancing controls for each of the two channels. This enables a wide range of front end
Gain settings to be matched to a given listening level and the level of the other Modes.
RHY
SECOND: They act as Effect Send controls for each Mode in the Effects Loop. As with many of
the controls on the ROCKET, the best results for balance and tone are usually found in the
INPUT
FT.SWITCH
GAIN
MASTER
5
medium range of this control.
LEAD
THIRD: The MASTER Control is the Record / Phones Send Level control. When using the direct
RECORD / PHONES jack found on the Rear Panel to interface directly to a mixing board or recorder, this control will determine the
amount of signal you will be sending via this jack. In this application it is usually best to start with the MASTER Controls set to
and gradually increase them to the proper level. This minimizes the possibility of blowing speakers or eardrums in the event
3
the engineer has an extremely sensitive input headroom setting in place at the console.
As with most guitar amplifiers, the TREBLE Control is the strongest of the three rotary controls. Its setting on the
ROCKET determines the blend and strength of the MIDDLE and BASS Control. Set
TREBLE:
high, it is the dominant control, minimizing the amount of MID and BASS that
would otherwise be possible in the mix. Set low, the TREBLE becomes the
RHY
recessive control and a warmer, darker blend is produced.
INPUT
FT.SWITCH
GAIN
MASTER
Dial with care! Subtle tweaking of this control tends to produce the best results.
LEAD
TREBLE
PAGE 3
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MIDDLE:
Through endless daily tone dreaming, the "if-only" design dictum led to the MID Control that doubles as a dial-in
gain boost. From to about the taper is adjusted to act as a very
0
3
effective MID Control. As you increase the MID to
and above, you will
4
RHY
hear the lower Mids getting more pronounced and fatter. When the MID
Control is set above the MID leaves behind the old notion of being
INPUT
FT.SWITCH
6
GAIN
MASTER
a tone control and becomes a truly usuable Gain control.
LEAD
TREBLE
MIDDLE
This upper range is a smokin’ addition to the ROCKETS' RHYTHM
Mode and in conjunction with the GAIN Control all kinds of higher gain
rhythm sounds are possible. Try the MID Control set high and the GAIN Control at about 6 7 for a cool blues solo sound. For
a grinding crunch rhythm sound "Dime" the MID Control and stand back ! If this still isn’t crazy enough for you..."Max" the GAIN
0
1
and TREBLE Controls and set the PRESENCE Control to
. This should be sufficient enough fuel to get you to the next
planet! The versatility that this dual purpose MID Control lends to the RHYTHM Mode of the ROCKET greatly expands its
usefulness as both a clean and overdrive Mode.
NOTE
0
3
The lower region of the MID Control
determines midrange punch and boldness in lower gain sounds and a
smooth "vocal like" blend in high gain sounds. It can be very effective acting as a "cut through the band control" in certain
situations. Dial to taste, remembering that the setting of the TREBLE Control greatly effects this control’s strength.
BASS:
This control blends in the lower frequencies and its effectiveness, again, depends on the setting of the TREBLE
Control. It should be set with moderation, as extreme
settings in either low or high directions can produce an
unbalanced tone. In any one of the three Modes, be
RHY
especially careful using higher Gain settings. Too much
BASS will cause a flabby unfocused sound that can’t be
dialed out because excessive BASS has been introduced to
INPUT
FT.SWITCH
GAIN
MASTER
LEAD
TREBLE
MIDDLE
BASS
6
the pre-amp in the early stages. Try setting the BASS to
for clean sounds in the RHYTHM Mode and or below
4
when dialing up High Gain overdriven sounds in this Mode. In the LEAD Mode, try setting the BASS somewhere between 0
These settings will depend upon the amount of Gain and Treble that you have dialed up.
3
.
PRESENCE:
The PRESENCE Control attenuates the high end and controls dynamic compression in the power section.
High settings produce more sparkle, cut and
lend a more "open" quality to the RHYTHM
RHY
Mode. Low settings of the PRESENCE Control
compress the sound and enhance the more
vocal like qualities of single notes.
INPUT
FT.SWITCH
GAIN
MASTER
LEAD
TREBLE
MIDDLE
BASS
PRESENCE
This control can also produce a fatter, warmer
character, especially in the LEAD Mode. Lower
Treble settings, combined with low PRESENCE Control settings produce the richest and roundest lead sounds. For a clean sound,
try setting the PRESENCE Control at around 5 or for the sweet blend of sparkle and cut in the RHYTHM Mode. This range in
6
the RHYTHM Mode also tends to give the impression of more headroom. Try a LEAD Mode PRESENCE Control setting of
start with and adjust to desired taste.
to
3
NOTE
of annoying microphonic tube problems occurring.
Avoid setting the PRESENCE Control to
when High Gain and Treble settings are in use. This reduces the likelihood
10
PAGE 4
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TOGGLE SWITCHES:
Use this toggle to select one of the three Modes - RHYTHM, LEAD or CONTOUR. This
toggle can also take the place of the remote footswitch when there isn’t one handy.
RHYTHM / LEAD / CONTOUR:
ON
RHYTHM
ON
L
E
A
D
F
T
S
W
CONTOUR
STANDBY POWER
Perfect for set breaks...this toggle switch also serves an even more important purpose. In the STANDBY
position the tubes are at idle so that during power up they may warm up before being put
ON / STANDBY:
ON
RHYTHM
ON
to use. Before the Power is switched on, make sure the STANDBY switch is in the
STANDBY position. Wait at least 30 seconds and then switch the STANDBY to the
"ON" position. This helps in preventing tube problems and increases their toneful life
substantially.
L
E
A
D
F
T
S
W
CONTOUR
STANDBY
POWER
This switch delivers the A.C. power to the SUBWAY ROCKET. Make sure the unit is grounded (all three
POWER:
terminals of the A.C. power cord must be connected whenever possible to avoid injury to
RHYTHM
ON
ON
the user as well as to the unit) and that the proper voltage is present. Follow the cold start
procedure described in the ON / STANDBY section above when powering up your
ROCKET.
L
E
A
D
F
T
S
W
CONTOUR
STANDBY POWER
REAR PANEL:
12 A
TM
DYNA -WATT
POWER
SUBWAY ROCKET
SPEAKERS
4 OHM
PRE-AMP PATENT
FUSE
4,701.957
1A SB
%
100
0%
FX MIX
RETURN
SEND
RECORD / PHONES
8 OHM
4 OHM
MUTE SPKR ON
SILENT RECORDING
HANDBUILT IN PETALUMA, CALIFORNIA.
This is the A.C.’s ( Alternating Current ) main fuse and provides protection from outside A.C. fluctuations, as well as
power tube failure damage. Should the fuse blow, replace it with the same rating in a slo-blo type package. The
domestic U.S. version requires a 1 amp slo-blo fuse. A power tube short or failure is often the cause of a blown
fuse...Follow the cold start procedure mentioned in the ON / STANDBY switch section and watch the power
tubes as you turn the STANDBY to the ON position. If a power tube is going bad or is arcing you will see it! Turn the
FUSE:
1/2 A
FUSE
1A SB
STANDBY Switch to STANDBY immediately and replace the faulty power tube and the fuse if necessary. If you see nothing
abnormal as you lift the STANDBY, it is possible that a power tube shorted temporarily and blew the fuse. If this is the case it may
work again normally. To be extra safe you may want to replace all power tubes in the "shotgun" troubleshooting tradition and save
the replaced set as spares. Don’t forget to carry along a few extra fuses to your gigs, they could be worth their weight in
PAGE 5
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RECORD / PHONES:
This jack provides direct-to-console interfacing for recording or sound reinforcement applications.
It can also be used to power a set of personal headphones which is a convenient way to practice
12 A
day or night privately. It is a circuit dedicated to reproducing the roll off that occurs in the output section with a
speaker connected. With accuracy, it faithfully captures the SUBWAY ROCKET'S soulful character.
FUSE
1A SB
RECORD / PHONES
The send level strength is determined by the GAIN and MASTER Controls. From this jack, adequate signal
level will be available to you for most of your recording needs and live performances.
These two 1/4" jacks are the patch point for external effects. The Effects Loop is wired in
FX LOOP: SEND / RETURN:
parallel with the normal signal. Connect the SEND jack of the ROCKET to your
Effects Input jack. Connect the RETURN jack of the ROCKET to the Output jack
of your effect unit. The Effects Loop is a patch point between the pre-amp and power
section. Therefore, the RETURN jack can double as a "Power Amp Input" jack. When
the RETURN is used as an input, the PRESENCE and MASTER Control of the active
Mode are being utilized. While the RETURN is being used in this manner, all other
controls are inactive.
12 A
SUBWAY ROCKET
PRE-AMP PATENT
4,701.957
FUSE
%
0%
100
1A SB
FX MIX
RECORD / PHONES
RETURN
SEND
This control determines the dry/wet blend of the FX Loop signal in relation to the unaffected signal. Set to 0%
you will experience only the dry signal (no effect) and at a setting of 100% the entire signal will be wet (total
effect.)
FX MIX:
%
0%
100
FX MIX
For the best results...Set the mix of your effect to 100% wet. Then dial in the amount of effect that you wish to
hear, starting at 0% with the FX Loop Mix Control. The drier (closer to 0%) signal you use, the better your tone
should be. This parallel type FX Loop allows the amplifier to retain its purity with the smallest amount of
degredation due to possible effect impedance mismatching.
RETURN
This rocker switch which is located down under the chassis and selects between the live
"Speaker On" setting and the silent "Speaker Mute" setting. This is a perfect solution for all-
nighters! This switch mutes all of the signal at the power section driver stage, removing the need
for a speaker load IN THIS POSITION ONLY!
SILENT RECORDING:
%
100
MIX
URN
NOTE
When this switch is set to the "ON" position, a speaker load must be maintained
by either a load resistor of some type or a speaker itself. Failure to comply with this
instruction could result in major damage to the amplifier. Leave your speaker connected.
MUTE SPKR ON
SILENT RECORDING
SPEAKERS:
Sensitivity to speaker mismatching in regards to ohmage differences is low, hence no damage to the amplifier
will occur. However, very low ohmage loads will cause the power tubes to wear faster. The
SUBWAY ROCKET is equipped with a single 10 inch 8 Ohm speaker, but as you can see, other
speaker configurations may be used. When using two 8 Ohm speakers, connect each of them to
the 4 Ohm speaker jacks that are provided, this will equal a 4 Ohm load which is the proper
SPEAKERS
impedance required when using this particular speaker configuration.
4 OHM
8 OHM
4 OHM
PAGE 6
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The Spirit of Art in Technology
1317 Ross Street Petaluma, CA 94954
USA
Download from Www.Somanuals.com. All Manuals Search And Download.
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